text:
Energy and Sports Drinks
Topic Overview
What are energy and sports drinks?
If you listen to the advertising, you might think energy and sports drinks do it all. More energy. Improved performance. Better concentration.
But do they? And what's the difference between energy drinks and sports drinks?
Energy drinks
People use energy drinks because these drinks claim to improve energy, help with weight loss, increase endurance, and improve concentration. The main ingredient in energy drinks is caffeine. They also may contain extract from the guarana plant (which is similar to caffeine), the amino acid taurine, carbohydrate in the form of sugar, and vitamins.
Examples of energy drinks include Monster, Red Bull, and Rockstar.
Sports drinks
People use sports drinks to replace water (rehydrate) and electrolytes lost through sweating after activity. Electrolytes are minerals, such as potassium, calcium, sodium, and magnesium, that keep the body's balance of fluids at the proper level. You may lose electrolytes when you sweat.
Sports drinks can also restore carbohydrate that the body uses during activity.
Sports drinks often contain carbohydrate in the form of sugar, as well as electrolytes and minerals and sometimes protein, vitamins, or caffeine. They come in different flavors.
Examples of sports drinks include Accelerade, Gatorade, and Powerade.
Are energy drinks safe for children and teens?
The American Academy of Pediatrics recommends that children and teens not use energy drinks.footnote 1 The best way for children and teens to improve energy is through a balanced diet. Getting enough sleep also can help keep energy levels up.
Why should children and teens avoid energy drinks? One reason is that the main ingredient in energy drinks is caffeine. It can cause problems in children and teens, including:
- Higher blood pressure.
- Sleep problems.
Energy drinks may make existing problems worse in children and teens. For example, energy drinks:
- Can make high blood pressure and abnormal heartbeats more likely in those with heart problems.
- Can increase blood sugar in those with diabetes.
Concerns about energy drinks
- Too much caffeine. Energy drinks contain caffeine and other ingredients. The label may not say how much caffeine is in the other ingredients, so it can be hard to know how much caffeine is in the drink. A single energy drink can contain as much as 500 mg of caffeine. You would have to drink 14 cans of cola to get the same amount of caffeine.footnote 1
- Other ingredients. Energy drinks may contain other ingredients, such as kola nut or guarana. There has been little research on how these ingredients may affect the body.
- Limited regulation. Energy drinks may be classified as dietary supplements, which are not as strictly regulated as foods. For example, the U.S. Food and Drug Administration (FDA) regulates the amount of caffeine in sodas, but not in energy drinks.
- Sugar. Energy drinks usually contain sugars, which add to the calories. This could lead to weight gain. The sugars can also lead to dental problems.
- Withdrawal. When your body gets used to a lot of caffeine and then you stop using it, you can get symptoms including headaches, feeling tired, having trouble concentrating, and feeling grumpy.
- Sleep. The caffeine in energy drinks may make it harder to sleep. Some people may feel they need less sleep, due to the stimulation they get from the caffeine. This can lead to sleep deprivation.
Are energy drinks safe for adults?
Consuming moderate amounts of caffeine is considered safe for adults. That means 100 mg to 200 mg of caffeine a day. There is about 95 mg of caffeine in 8 fl oz (237 mL) of brewed coffee.
Caffeine increases energy in adults and fights tiredness. But too much caffeine can cause nervousness, feeling grumpy, an upset stomach, diarrhea, and headaches.
Caffeine has been shown to improve endurance and performance in high-intensity sports. But research also notes that the improvement is mostly seen in trained athletes and may not be seen in people who exercise casually. Research also notes that taking low to moderate doses of caffeine produces the same improvement as taking higher doses.footnote 2
Drinking energy drinks and alcohol together may be unsafe. The caffeine in these drinks can make the effects of alcohol harder to notice. People may feel they are not as intoxicated as they really are. Mixing caffeine with alcohol may cause you to drink more, because the caffeine may keep you awake longer.
In small amounts, caffeine is considered safe for the developing baby (fetus). But if you're pregnant, it's a good idea to keep your caffeine intake below 200 mg a day because:footnote 3
- More caffeine may be connected to a higher rate of miscarriage. There isn't enough evidence to know for sure.footnote 4
- Caffeine can interfere with sleep for both you and the fetus.
The total caffeine in an energy drink may be more than the recommended amount.
Are sports drinks useful?
Water is usually the best choice before, during, and after physical activity.
You might benefit from a sports drink if you have sweated a lot during activities that are intense or last a long time. For example, a runner or cyclist in a long-distance event could use a sports drink to hydrate and replace electrolytes.
Sports drinks may contain sugars but have little nutritional value. They add calories. So if you're not exercising long or hard, sports drinks could lead to weight gain. The sugars in these drinks can also lead to dental problems.
Children and teens
Children and teens use carbohydrate for energy. A balanced diet gives most children and teens the carbohydrate and electrolytes they need. Extra carbohydrate and electrolytes from sports drinks aren't needed, even after short physical activity or exercise.
Before, after, and during activity, water is the best choice for children and teens. A sports drink may be useful if children and teens have exercised intensively or for a long period of time. If your child is an athlete or takes part in intensive or long-lasting activities or exercises, talk to your doctor or a registered dietitian about how to best use sports drinks.
What do you need to remember about using these drinks?
- Water is usually the best choice before, during, and after physical activity.
- Don't use sports drinks to replace water or low-fat milk during meals or snacks.
- Don't use energy drinks in place of sports drinks.
- Don't allow children or teens to use energy drinks.
- American Academy of Pediatrics (2011). Clinical Report—Sports drinks and energy drinks for children and adolescents: Are they appropriate? Pediatrics, 127(6): 1182–1189.
- Goldstein ER, Ziegenfuss T, et al. (2010). International Society of Sports nutrition position stand: Caffeine and performance. Journal of the International Society of Sports Nutrition, 7(5): 1–15. Also available online: http://www.jissn.com/content/7/1/5.
- Weng X, et al. (2008). Maternal caffeine consumption during pregnancy and risk of miscarriage: A prospective cohort study. American Journal of Obstetrics and Gynecology. Published online January 28, 2008 (doi:10.1016/j.ajog.2007.10.803).
- American College of Obstetricians and Gynecologists (2010). Moderate caffeine consumption during pregnancy. ACOG Committee Opinion No. 462. Obstetrics and Gynecology, 116(2): 467–468.
Other Works Consulted
- American Academy of Pediatrics (2011). Clinical Report—Sports drinks and energy drinks for children and adolescents: Are they appropriate? Pediatrics, 127(6): 1182–1189.
- Centers for Disease Control and Prevention (2010). Caffeinated Alcoholic Beverages—CDC Fact Sheet. Available online: http://www.cdc.gov/alcohol/fact-sheets/cab.htm.
- Goldstein ER, Ziegenfuss T, et al. (2010). International Society of Sports nutrition position stand: Caffeine and performance. Journal of the International Society of Sports Nutrition, 7(5): 1–15. Also available online: http://www.jissn.com/content/7/1/5.
- Marczinski CA, Fillmore MT, et al. (2011). Effects of energy drinks mixed with alcohol on behavioral control: Risks for college students consuming trendy cocktails. Alcoholism: Clinical and Experimental Research, 35(7): 1282–1292.
- Muncie HL Jr (2007). The safety of caffeine consumption. American Family Physician, 76(9): 1282, 1285–1286.
- Seifert SM, Schaechter JL, et al. (2011). Health effects of energy drinks on children, adolescents, and young adults. Pediatrics, 127(3): 511–528.
Current as of: May 5, 2019
Author: Healthwise Staff
Medical Review:E. Gregory Thompson MD – Internal Medicine & Adam Husney MD – Family Medicine & Kathleen Romito MD – Family Medicine & Heather Chambliss PhD – Exercise Science
Topic Contents
This information does not replace the advice of a doctor. Healthwise, Incorporated, disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. Learn how we develop our content.


text:
I've not been baking tarts for ages!! Should really thanks to the current month theme of Aspiring Bakers :D if not I won't be baking tarts any sooner :D
Recipe adapted from Alan Ooi 'In The Mood For Pastries & Tarts'
Sweet Tart Pastry (enough for 36 tarts)
- 250gm butter
- 100gm icing sugar
- 1 large egg
- 1/2 vanilla essence
- 450gm plain flour
- Using a electric whisk, cream butter & icing sugar until fluffy.
- Add egg and vanilla essence, beat till combined.
- Sieve over flour in batches and beat till just mixed.
- Gather dough together and store in air-tight container and chill lightly before used. (the dough should not be sticky and is easy to handle)
- sweet tart pastry (as above)
- 250gm cream cheese
- 50gm icing sugar
- 15gm butter
- 1 egg
- mulberry jam (or any other jam)
- Press pastry (approx 25gm) into tart mould. Bake at 160 deg cel for 15mins. Remove and set aside.
- Using a electri whisk, beat cream cheese, icing sugar & butter until creamy.
- Add in egg and beat till combined.
- Scoop mixture into piping bag. Pipe batter into pre-baked tarts. Spoon some mulberry jam over and swirl lightly with a toothpick to create patterns.
- Bake in preheated oven at 180 deg cel for 10-12mins. Cool completely before unmoulding.

subset: commoncrawl


text:
The Owatonna Degner Regional Airport offers premier facilities and numerous amenities for our customers.
Pilots can relax in our comfortable lounge and enjoy:
The main terminal also provides corporate areas to include:
Convenient and free automobile parking located a short distance to the terminal facilities is available for passenger use. Courtesy ground transportation is available as well as catering service at your request.


text:
Suppose you read the following statement:
In 2006 the measured economic output of the entire world was around $47 trillion. The total market capitalization of the world's stock markets was $51 trillion, 10 percent larger.... Planet Finance is beginning to dwarf Planet Earth.
Are you impressed? You shouldn't be.
A year's output is the value of goods and services produced over that year, while equity values reflect the (discounted) value of all future streams of profits. If you are comparing the two, you must at least have a sense of what a decent benchmark for comparison would be.
So if, say, half of GDP originates in the corporate sector and profits are one-third of value added, the present value of profits discounted at a continuous rate of 8% amounts to 208% of GDP (=0.5x0.33/0.08). This suggest that the value of stock markets should be more than double that of annual output, not the mere 10 percent extra that the above numbers suggest. Planet Finance is not all that huge after all--at least given the numbers we are presented.
What is somewhat disconcerting is that the above statement comes from Niall Ferguson's new book, The Ascent of Money. Ferguson knows no doubt the difference between flows and stocks, or income and wealth. But the way he sets this up is misleading nonetheless.


text:
I am pretty pleased with the way my drawered tool cabinet is coming out. But… I think I'll be using this build in the garage, and start over building something a little different for my office workshop.
So here's what happened in the past 2 weeks.
I looked at my Gladiator workbench, and it once again annoyed me that there's a lot of wasted space under the worktop. I have a ~27″wide by ~18″ deep tool cabinet within a 25″ deep space, and misc. stuff on the other side.
The total space between the workbench legs is 56″.
Someone put it in my head to give Ikea Sektion cabinets and drawers another try, so that's what I did. I went and picked up everything needed for a 30″ cabinet and 6 drawers, and a 24 cabinet with 6 drawers, both 24″ deep.
I sized the cabinets to fill 55.5″ of it, including cover pieces. It seemed like it would be a great editorial opportunity. How well did kitchen cabinets suit workshop use? How would they compare to my super heavy duty bolt-together solution?
I went back to Ikea a few days later and also picked up wall rails and 4x 30″ wide wall cabinet with the vertical hinges I really liked.
Today or tomorrow I'm heading back to return everything.
With the Ikea Sektion system, the money goes towards the hardware and visible face components – the drawer fronts and cover pieces.
The drawers are created using Blum or Blum-like components – steel sides and back plus a melamine chipboard bottom.
You lose space at the sides, because the drawer components slope inwards.
A few days ago I decided that I would wall-mount the cabinets, rather than to try to find a way to convert them into a free-standing system.
I tried to better plan everything over the weekend. Where would the Ikea kitchen cabinets go? Where would my 80/20 cabinets go? Should I raise the Ikea cabinets an extra few inches to match the final ~39″ height of my 80/20 cabinet?
Would I still build maybe an 80/20 corner setup so that I didn't lose a lot of corner space?
And then I slowly gravitated to the idea that I should build a custom space-fulling L-arrangement.
I like how I built the 80/20 cabinet so far, but I would have to come up with a different arrangement for the L frame.
When trying to think of a raising platform for the Ikea cabinets, I came up with a horizontal rectangle with small repositionable feet. The feet would be 3″ or 4″ sections of feet with pricey but useful mounting feet bases, and threaded leveling feet – perhaps just under 3″ so they didn't stick out much.
So when drawing up initial designs for the L configuration, I decided to go with a rectangle for the base, with horizontal spans being single lengths of 80/20. The depth spans would go completely between, and can be connected via anchors, angle brackets, or joining plates.
For this build, I think I'll order cut and counterbored pieces from 80/20, unless I can get my machining tools finally unpacked and ready. The counterbores are a challenge without a real mill.
The vertical spans will also have end anchors or brackets. The front sections will be fixed to the front horizontal rail, the rear sections will be fixed to depth rails. This would allow for mounting of Blum drawer slide hardware without needing to come up with a complex or space-wasting way to mount them.
It would also allow for wall-mounting, if desired. But I think the L-shaped design should provide enough anti-slip protection. Maybe wall-mounting will help further vibration-proof everything.
One wall has 84″ of available space, the other 87″.
That 84″ is right near my huge L-shaped corner desk, which I'll be redesigning soon too I think. Right now, too much stuff gets lost on the 31″ deep and 63″ wide desk that has a 48″ x 24″ corner side.
So I figure a 12″ shelf section would be good, putting the first bank of drawers where my Beta tool cabinet currently resides.
Then, there will be 26″ bank of drawers. A vertical support, then 20.5″ or 22.5″ bank of drawers. The slides will be 21″ long, and the framing 22″ deep. Looking at a 21″ slide in my kitchen, the rear vertical support will work well to directly support the back of the slides, if on the depth rail and nudged forward a hair.
The right side, where there's overlap with the other L section, will be kept closed. Corner cabinets are very space efficient, so I have something else in mind. Maybe a hinged worktop, so I can store some long bulky stuff in the corner area.
The other side of the L will be 16″ or 19″ deep. I'm leaning towards 19″ deep, which will work better for the 24″ and 2x 15″ wide drawer sections I'm thinking of.
2 25″ deep workbenches in the room was too much, and I had moved one of the benches out. But I think that a 22″ section and 19″ section will work better. With some overhang, that will be 23″ on one end, and 20″ on the other. With a sort of built-in look, maybe the space will work.
The alternative is 23″ to 25″ on one side, and 16-17″ on the other. But 17-18″ with 1″ or 2″ of overhand won't be much shallower than 19-20″.
My first drawer was prototyped for a 18″ wide x 15″ deep cabinet, and it was too small.
The current design calls for 2x 15″ drawers, which I think will work a lot better with 18″ slides than 15″.
Or I guess I could go with a 30″ drawer, but I think I would benefit more from more compartments.
Or maybe I can use this space for Sortimo T-Boxx storage and a small open shelving stack.
I'll have a few drawers with 24″+ inner width, and there's also a shallow but wide 4-drawer office cabinet available for super-wide stuff. And don't forget about that secret trap door-accessible corner cubby I'm planning on.
For the cabinet I already built, I'll cut the depth rails down to size and will wall-mount the rear, making a sturdy shallow depth cabinet for the garage. Or… the other side of the room, by a doorway. Or maybe it'll be a part of my eventually to-be-shrunken corner desk.
The height is expected to be: 4.5″ feet + 1.5″ lower rail + 30″ vertical supports + 1.5″ top rail = 37.5″.
A 1.5″ worktop puts the height at 39″. I have 1-1/8″ butcher block tops from Ikea, which would put the height near 38.6′. The leveling can be extended to get a little more height if needed.
I plan on using this space for precision work. When I considered getting Sortimo WorkMo units for the drawers or T-Boxx, I read that 750mm is a good height for heavy work, 1000mm for precision work. It's all about elbow position.
750mm is around 30″, too low and unnecessary. 1000mm is about 39.37″. 36″ is typical kitchen countertop height. I'm happy around 38″, but a small bump up is good.
With my current cabinet design, I can't really change the height. With the new design, I can swap in taller feet if needed. Or shorter. In theory, with 30″ vertical supports and 1.5″ top and bottom rails, I can get a height of 36″ pretty easily. Feet support with fully inserted feet would be another 1.5″ So that would be 34.5″.
Raising the worktop height to 38″ to 39″ still gives me a comfortable elbow angle. Some commercial workbenches bring the worktop height to around 38″.
One thing I'm not set on is whether or not I'll be taking the casters off my Beta tool cabinet for attachment within the 18″ to 19″ depth section. It's a great tool cabinet, but might look out of place when all is said and done.
This is why I try to think ahead, otherwise I end up with a car full of Ikea furniture I need to return to the store, or a bucket of spare parts.
The good thing about 80/20 is that everything from the original cabinet build is reusable. It's still a hell of a sturdy workbench that I might modify to be shallower – to better fit the already-build drawers – or I might keep it as-is.
There are a few questions I'll think over, but I'll likely measure once more and then order the framing components I'll need to get everything going.
Once the skeleton is in place I can better think about how wide to make all of the drawer sections. Maybe I'll make shelves first, giving me the opportunity to see what will go where and how it'll look.
Questions to think about:
Black or silver anodization? I'm thinking black! Black looks better, but shows dings and scrapes more too. Silver with smooth sides is 53 cents an inch, black with smooth sides is 61 cents an inch. To save money I could just go with black anodized for the showable surfaces, which will also be mostly hidden by drawer fronts.
1-1/8″ butcher block top, or source some thicker stuff? If I don't use the two 72″ x 25″ countertops for this project, I'll use them for something else. I will likely need to buy another top anyways. Or, if the corner area is hinged to make a secret cubby, I can just make that section.
What to do about the corner? Giving access would take away from drawer widths – a LOT, too. A removable or hinged worktop section would help, but knowing me I'll have that area cluttered up in no time. Maybe I could create a liftable area, where a square of worktop is elevated whenever I need to access something below?
Ooh – that seems like a neat side project!
Or I can leave the corner open for bulky stuff, say a vertical material organizer? Maybe with a pipe coming straight up with storage trays situated around it?
How to use that corner?!
I know it's hard to talk about project planning like this without visuals, but I'm still working on them. Right now all I have are some sketches in a notebook.
Oh, and drawer depth is looking to be 2.75″ with 3/8″ spacing, 4″ with 3/8″ spacing. and 6.5″ with 3/8″ spacing.
I might think this out a little more. Maybe it'll be better to go with 2-tier deeper drawers.
I can fit 8x 2.75″ drawers in a 30″ span, or 6x 4″ drawers, or 4x 6.5″ drawers. 1x 6.5″ drawer can sub in for 2x 2.75″ drawers, or 3x 4″ drawers can sub in for 4x 2.75″ drawers or 2x 6.5″ drawers.
A 3/8″ spacing between drawers is a little wasteful, but gives more space for overflow. On the current cabinet, 1/8″ is a bit cramped. I'll probably have to cut one of the deeper drawers to create a little more space. Otherwise it's going to requite a whole lot of work to create and perfectly space drawer fronts.
There's a lot of thinking aloud and indecision here. I tend to be more visual when planning out workspaces, which is why I'm so keen on getting the skeleton up before finalizing the sizing and placement of everything.
It was only once I started blocking things out with cardboard boxes that I realized the upper cabinets I ordered wouldn't work well here. They're also really deep – 15″. Maybe I'll keep them, but as of now I think that 10-12″ shelving will work a lot better than 15″ deep wall cabinets. Maybe I'll be up to 2 return trips this week – one to return all the bottom stuff, and upon thinking about it more, one for the tops.
That was a whole thought process in itself – if I install those 30″ wide x 15″ tall x 15″ deep cabinets, how much of a space would I want between the top of the worktop? The standard kitchen spacing of 18″ is too small. 20″? 21″?
Those Blum-made vertical hinges are awesome, and could be used for DIY wall cabinets just the same. They're super pricey, though, at $50 per pair. The cabinet is dirt-cheap, the front is pricey, and the hinges are priciest. I'll return them, get the L-shaped workbench built and then equipped with drawers, and then turn my attention back to over-workbench space.
Hmm, I'll probably want to move the electrical outlets from their near-floor placement, to above-worktop placement. I'll have to check to see whether the circuit is 15A or 20A. That circuit feeds outlets and lights at random other parts of the house.
If it's a 20A circuit, it needs 12 gauge wire, But if it's a 15A circuit, can 12 gauge wire be used all the same? I figure that the outlet can be moved, but maybe it would be better to remove the lower outlet, leave the wiring intact, and then just add in 12 gauge wire going to a new outlet placement above the worktop. Agh- too many things to think about!
Sorry for the sidetrack! (But not really.)
How did everything spiral out of control? Here was the thought process:
- Storage space under workbench is under utilized
- Ikea cabinets to go between workbench legs
- Ikea cabinets to be wall mounted
- How to transition between 24″ cabinet and 18″ DIY cabinet?
- How to build the corner piece?
- How to build a platform for the Ikea cabinets to be raised to the DIY cabinet height?
- If I'm building a platform to raise the Ikea cabinets, I might as well build a platform to wrap the corner
- Ikea drawers to be used in the new cabinet (Ikea Sektion Maximera are said to be built by Blum)
- Blum Tandembox drawers?
- Blum Tandem with Blumotion slides (used in the cabinet build) are more flexible and have higher weight capacity
- Let's build a new L-shaped tool drawer workbench, expanding the platform idea into a somewhat monolithic almost built-in frame!
- Spends some time with pen and paper to see how it could work
- Let's post about it!


text:
Read More The Beatles In case you haven't noticed, early next month mark The Beatles' 50th Anniversary in America. The two surviving Beatles members, Paul McCartney and Ringo Starr, will likely 'come together' on David Letterman… |
Coincidentally, we are also celebrating the 200th episode of W♥M Radio.
Our guests Vu, John, and Emily, discussed:
Rolling Stone #1200 (16 Jan 2014)
Rolling Stone LLC
Itunes has a whole page on The Beatles, touting Beatles music on "iTunes Radio". You can buy their entire discography for a pittance of $120.
A lot of bands that I grew up in the early 90s are riding that nostalgia train, which I really don't have a problem with. I was lucky enough to have caught them the first time around, so seeing them in their current state, some twenty years later, I can really appreciate them now.
So I would say that since 2010, there this might be the decade of the 90s revival bands. Pearl Jam, Stone Temple Pilots, Green Day, Eve 6, Garbage, Limp Bizkit, NIN, My Bloody Valentine, Pavement, Smashing Pumpkins, Stone Roses, Blur, oh so many bands to name, are all giving it a last hoorah. Some people are saying they sold-out or cashing in, but who cares? I love it, and I think it's great for both fans who caught them the first time around and those who were too young to have seen them.
Gene Reissue Flyer
photo: facebook
All of Gene's albums are being re-released in double disc deluxe CD edition on February 7th, 2014, via Demon Music Group. I may have mentioned that they were all on vinyl, but the fact is only Libertine is on vinyl since they own the legal rights to it. Also, unfortunately, if you live in the US, you have to import this, as their release rights only extends to the UK.
To celebrate, there is a listening party at Camden Barfly in London, February 6th, 2014. London, can you wait? Not for Martin Rossiter, apparently. His name is clearly not mentioned on the promotional flyer, indicating that Steve Lamacq will be doing a Q&A with the band.
200 is a lot of episodes. If you are interested in download some old episodes, head over to archive.org.
This is what the first ten episodes look like:
Show | Guests | Song of the Show | Duration |
001 Reason is Treason | Vu | Kasabian - 'Reason is Treason' | 07:51 |
002 Flowers from the Man Who Shot Your Cousin | Vu and Ryan | Flowers From the Man Who Shot Your Cousin - 'Lay Down Your Arms' | 10:08 |
003 The Young Knives/Fancy Bastard | Vu and Ryan | The Young Knives - 'Weekends & Bleakdays (Hot Summer)' | 19:11 |
004 Morrissey | Vu, Christina (Valley Girl), and Ryan | Colin Meloy - 'Everyday is Like Sunday' | 16:39 |
005 Jill Barber and Mook is MIA | Vu and Ryan | Loons – 'The Way The Rain Drives In' | 20:12 |
006 Jazzcast | Vu and Dave | Duke Ellington, Charles Mingus, and Max Roach - 'A Little Max' | 15:31 |
007 The Last Town Chorus, The Plastiscines, and the Coathangers | Vu and Ryan | The Plastiscines - '(Zazie Fait De La) Bicyclette' | 10:23 |
008 Luciano Pavarotti | Vu and Christina (Valley Girl) | Luciano Pavarotti - 'Caruso' | 08:00 |
009 We Heart Music's Diner | Vu | DNA/Suzanne Vega - 'Tom's Diner' | 14:16 |
010 Trevor from Ariel Publicity | Vu and Trevor | Adam Von Baron - 'In My House' | 17:17 |
NOTE: You can tell I was still trying to get the hang of recording audio for the podcast. I experimented with various audio recording software, but eventually picked Call Graph because it's free and it's reliable.
Go to Podcast Archive Page for more information.
W♥M Radio is available on iTunes, please subscribe!
Subscription Options
Subscribe on iTunes
Subscribe via RSS
Add to Google
Add to Yahoo
Archive of this show at archive.org. More information on podomatic.com


text:
By HarlemHouse
Another hot and soulful mix for you. For all you Jill Scott, Mary J Blige, Eric Benet, Andy Caldwell, Ledisi, Blue Six , Sade and Beyonce fans this one is for you. Keepin' It Soul (Vol. 1) is the first in a series of mixes that will be coming in the next several months. This one gets it right from start to finish, from commercial R&B songs to underground jazzy vibey downbeats.
Free download of Keepin' It Soul (Vol. 1) available now on iTunes. Or to stream click here.
Enjoy! From HarlemHouse
1) King Kooba – Bad Beat
2) Jill Scott – Le BOOM Vent Suite (Edit)
3) Thievery Corporation – Web of Deception
4) Chris Brown – She Ain't You (Instrumental Dub)
5) Mint Condition – Ease The Pain
6) Mary J. Blige – Someone To Love Me
7) Eric Benet – Better and Better
8) Jill Scott & Anthony Hamilton – So In Love (re-edit)
9) Andy Caldwell – Southern Plumperz
10) Ledisi – Shine
11) Mark Oakland – Live Forever
12) Beyonce feat. Andre 3000 – Party
13) Me'Shell Ndegeocello – Fellowship
14) Jaheim – Ain't Leavin Without You (Remix)
15) Eddie Levert & Eric Benet – Paid
16) Blue Six – Bittersweet
17) Groove Cocktail – Deep Touch
18) Tommy Largo – It's the Beat
19) R. Kelly – Love Letter (Reworked Mix)
20) Sade – Nothing Can Come Between Us
Also, coming soon a new House mix "HarlemGetzDeep" by RhythmDB which will be available through several Blogs or as always on itunes.


text:
"I've paid my dues in the sport and I feel like it's my time to show why I've been fortunate enough to get the opportunity."
Michael Bisping. Dan Hardy. Ross Pearson. They're household names to mixed martial arts fans in the United Kingdom and around the world. But before that trio delivered its own British invasion of the UFC over the last few years, guys like Tom Blackledge were battling it out in a sport that really didn't even have a name.
"To be honest, it was just going in and fighting, really," said Blackledge, who has been training for 13 years and fighting as a pro since 2002. "It was before it was even called MMA, it was just no holds barred. You weren't thinking of making a career out of it or being a professional athlete. It was just going into a fight, trying yourself out, and seeing what you needed to improve."
Back in those days in the UK, there were no UFC DVDs, video games, or video on demand. To see events from around the world like the UFC or PRIDE, you had to be resourceful. As Blackledge recalls, "I used to get all the VHS tapes of the original UFCs with Russian covers because we didn't get the stuff over here. (Laughs) You had to mail order from places and get them sent over."
In July of 2002, Blackledge – 1-1 as a pro at the time – got to see the real article at the Royal Albert Hall in London as UFC 38 captivated UK fight fans for a night.
"It was like 'this is a show,'" said Blackledge. "And then it never came back, so for a lot of people who were fighting in MMA back then, it was always a dream that you would get to the UFC, but it was very doubtful that they would be interested in any UK guys that much."
Bisping changed all that in 2006 with his win on season three of The Ultimate Fighter, which was followed by UFC 70 in Manchester ten months later, the opening of a UFC UK office and an international push that has seen a host of British fighters fight their way into the Octagon. One of them is Blackledge, who makes his debut this weekend against Anthony Perosh. The fight will air live on Facebook at 5pm PT/8 pm ET/1 am UK.
"I'd been training with the (Wolfslair) team from the start, and then Mike (Bisping) came and I helped him train for a lot of his fights, and he ended up getting on The Ultimate Fighter show and then he ended up going from there. Suddenly you realize that this is taking off like everyone involved thought it would. And thanks to the UFC, more people are knowing what MMA is so maybe I could make this my career. Seeing one of your teammates and your friends succeed is an eye opener."
Blackledge's first UFC fight won't be met with the fanfare Bisping received, yet he doesn't look at his 10-6 record as something to be ashamed of. Instead, it's a badge of honor for a 31-year old fighter who learned his craft on the job when there wasn't a concept of having a career as an MMA fighter.
"When you're involved in the sport, you know that things can happen and anything can happen in MMA," he said. "And back then when I was fighting, I would just fight, whether I was injured or not. It never really mattered about winning or losing; it was just going out there and having a fight. You would try things and test things while you were there. Now it's a different kind of sport – it's a career. And the casual fan might look and go, 10 wins and six losses, he's a nobody, but when you fight, anything can happen and there was never any thought of me protecting a record ten years ago. I don't make excuses for it – it isn't the best record – but I've paid my dues in the sport and I feel like it's my time to show why I've been fortunate enough to get the opportunity."
The Wigan native was supposed to get that opportunity at UFC 120 last October with Bisping and three of his Wolfslair stablemates – Cheick Kongo and the debuting Rob Broughton and Curt Warburton, but injury sidelined him from a bout against countryman James McSweeney. Throw in the fact that Blackledge's last bout in August of 2009 lasted just nine seconds thanks to a head kick knockout of Enoc Torres, and "The Juggernaut" has fought just nine seconds since April of 2009, making ring rust something that's definitely on his mind.
"It would be wrong of me to say it's not a concern and obviously I'm stepping on the biggest stage that you can in MMA, so it's a little worry, but we train that hard and that well that I'm always put under pressure with the guys, and I'm looking to get in and put on a good show more than anything else, so hopefully it will come together and I'll be able to turn it on on the night and put on an exciting show for all the fans."
One edge Blackledge will have is that he won't be alone in Sydney. Teammates Bisping and Warburton are also on the UFC 127 card, as well as countryman and friend Pearson, and if anything has been evident over the last few years of the UK's emergence on the world scene is that the Brits stick together. Now it's up to Blackledge and company to clear the way for the next generation.
"It's great that we all got in (the UFC) because we're all really close friends and we're all helping each other," said Blackledge. "And the guys that aren't signed to the UFC but fighting for the smaller promotions are hoping, and it gives them even more of a drive. They see Curt, and Rob, and myself are signed, so anything's possible. It's not like it's an impossible dream for them. It motivates them and everybody's in the gym all the time helping each other, so it makes a big difference and helps out in the training."
Jamahal Hill Talks UFC 300 Main Event
Hall Of Fame


text:
Australian National Botanic Gardens |
A weekly news sheet prepared by a Gardens' volunteer.
Numbers in square brackets [ ] refer to garden bed Sections.
Plants in flower are in bold type.
6 June 2008
Melaleuca radula - click for larger image |
There is a section containing mallee species of WA and SA with flowers to view. Many plants are also clad with buds awaiting spring. Regardless the area is worth a visit. It is situated up behind the old nursery. But view Leptospermum squarrosum [Section 44] an upright shrub with terminal branches clad with peach-blossom pink flowers, seen among other shrubs. A wattle, Acacia gladiiformis [Section 44] an upright shrub with branch terminals densely clad with large fluffy yellow flower balls. Then take the road beside the old nursery where numerous ground covers including Grevillea lanigera [Section 300] clad with pink and cream flowers and Brachyscome multifida 'Breakoday' [Section 300] with soft foliage mixing with the small mauve daisies.
The other side of the road a Bull-oak, Allocasuarina lehmanniana subsp.ecarinata [Section 100B] is a low shrub with small dark red flowers attached to the terminals of the long lateral branches. Melaleuca radula [Section 100B] has soft pink bottlebrush-like flowers on its terminal branches of this open upright shrub while Grevillea dielsiana [Section 100B] dangles its gorgeous orange flower clusters from its branches with short fine divided foliage.
Entering the boardwalk of this mallee area and in an anticlockwise direction the following plants can be seen. Grevillea pilosa subsp. pilosa [Section 100B] is a dwarf spreading shrub with hairy holly-like leaves and pale pink buds maturing to red flowers. In the centre of the garden the small upright shrubs are Hybanthus floribundus subsp. adpressus [Section 100B], all clad with tiny white flowers. Beaufortia decussata [Section 100A] displays its bright red flowers above the dense shrub seen in the centre of the garden. Thryptomene denticulata [Section 100B] is quite attractive for its arching branches are pink with tiny flowers.
Around the boardwalk curve Grevillea 'Sid Reynolds' [Section 100B] branches above the path, its flowers are cream with long red styles tipped yellow. Towards the valley Grevillea wilsonii [Section100B] can be viewed as a neat low rounded shrub with conspicuous scarlet flower clusters. Thomasia petalocalyx [Section 100A] is a low dense sprawling shrub with a scattering of down-turned pink flowers. Banksia epica [Section 100A] is of medium size bearing soft ochre coloured flower spikes tipped with brown stamens. Close by an emu-bush, Eremophila oppositifolia [Section 100A] is well clad with its grey-pink with cream throat trumpet flowers while Solanum orbiculatum [Section 100A] is a small shrub with grey-green foliage, its dusky purple flowers having bright yellow anthers. Opposite, a wattle, Acacia alata [Section 100C] is low and spreading with its white fluffy flowers edging the zig-zag flat branches. Dryandra quercifolia [Section 100C] is a dense rounded shrub with toothed leaves and large rounded flower heads. Behind, Labichea lanceolata [Section100A] is an open shrub dotted with open yellow flowers, its petals marked with a dark patch. Eremophila laanii [Section 100A] is a medium graceful shrub endowed with soft pink curved tube shaped flowers while Dampiera lanceolata [Section 100C] with upright many stemmed plant bears blue flowers.
At the exit of the boardwalk Banksia ericifolia var. ericifolia [Section 103] is a large spreading shrub laden with long cylindrical gold flower spikes while, looking up the gardens from the bridge, the tall slim shrubs laden with clusters of orange fruits are those of Auranticarpa rhombifolia [Section 96].
Now that is some section of flowers to enjoy … Barbara Daly.


text:
Aparthotel Angel Prague
Dear guests,
please, be informed that Aparthotel Angel has no reception as of 1st of October 2016. Please, contact the hotel directly before your arrival to agree on check-in details.
Thank you.
15min walking distance from the beautiful Old Town centre of Prague!!
Aparthotel Angel offers to our guests 18 comfortable and individually designed spacious apartments. Whether you´re coming to Prague just for a short trip or you´re coming for a longer period to make a business deal, we offer you both short and long term accommodation for reasonable prices.
Apart from such requirements as cable TV and internet access, we provide cleaning service and breakfast on request. The apartments have a kitchenette equipped with microwave, glass ceramics cooker, kettle, crockery & cutlery, fridge and hair dryer. Some apartments also have a terrace.
And there is more to offer. To insure complete satisfaction of our guests, we provide individually tailored packages of services, such as sightseeing tours, relaxation and entertainment.
Guests at our apartments are also sure to appreciate the extensive range of relaxation and sporting entertainment in the area of Andel City: fitness centres, saunas, solaria, beauty salons and a large range of restaurants, cinemas, night life and many others.
Area of Andel City:
Andel is the most modern section of Prague and its great facilities make it a popular, exciting and vibrant area. There are plenty of restaurants, bars, shops and cinemas in the surrounding. The famous Old Town and the city centre are just a short walk away. The area's excellent transport links offer access to all of the delights of this beautiful city. With all the convenience, independence and freedom of an apartment and all the services and facilities of a hotel, the Apart Hotel Angel is the best in both points of view.


text:
ABC News reported on the court's refusal to ease bail conditions for a man accused of multiple counts of sexually abusing children. Once again, the term "child sex" is in the headline.
To be clear, this man has not been tried on these charges. He is entitled to the presumption of innocence and this commentary is not about his guilt or innocence, which can only be determined by the court. This is specifically and only about the way charges against men who are alleged to have offended against children are described by the media.
Why this matters
"Child sex" is not a thing. Children cannot have "sex". Sex requires consent, children cannot legally or morally give consent so it is not "sex". Rape, sexual abuse and sex are not the same thing and these words can not be used interchangeably in headlines.
Here are the reasons this matters, in every case, with every headline.
The victim impact statements from child abuse trials are harrowing, a testament to the lifelong injuries suffered by people who were sexually abused as children. They are the litany of drug addition, alcohol dependence, gambling problems, depression, crippling anxiety, relationship breakdowns, suicidal thoughts, shame, self-hatred, mistrust of others and long term emotional damage so common in survivors of child sexual abuse. Children who have been abused are also significantly more likely to suffer further abuse, both as children and as adults.
The effects of sexual abuse of children then lead to the cycle of horror where victims become unreliable witnesses to their own abuse.
When the media, as it so persistently does, labels sexual abuse of children as "child sex", it weakens the public understanding of the extent and effect of such abuse. This has serious effects. A study conducted for the Royal Commission into Institutional Responses to Child Sexual Abuse found that juries who have a better understanding of the facts of child sexual abuse are less likely to make mistakes in their assessment of evidence given in court.
Children cannot have sex with adults. Sex requires consent and children, by definition, cannot give consent, so it's not sex. It's rape, it's child abuse, it's sexual abuse, it's any number of terms that accurately describe a crime. An act perpetrated on an innocent victim, someone who was unable to defend themselves from the violence done to them, and who suffers for years, possibly decades, from the trauma caused by an adult's choice to commit that violence.
That word choice is the key. Sex is a choice made by every person involved. Rape and abuse are a choice made only by the perpetrator. The victim has no choice.
No child has ever chosen to be abused. No child has ever done anything that caused or incited abuse. No child has ever wanted to be abused. No child has ever willingly participated in their abuse. No child has ever been in any way responsible for abuses committed against them by adults.
Despite this, many abused children believe they are willing participants. It is tragically common for abusers to manipulate vulnerable children into thinking the abuse is something that makes them special. Because they are children, they don't understand that it is abuse and they don't know what their abuser is doing is wrong. They only know that it was a secret, that they were the special ones for that moment because they were manipulated by their abuser.
That belief can become so central to the abuse that it can stay with the victims well into adulthood.
This is the tragedy of abuse, that so many victims do feel responsible for what was done to them. The shame that belongs only to the abuser is taken on by the abused child and incorporated into their lifelong view of themselves and their worth as a person.
Words matter.
When we name abuse as "sex", we imply victims had a choice. We tell them the violence someone else chose to do to them when they were a child is the same as sex they can choose to have as an adult.
It isn't.
Raping children is a horrific concept, we should feel a natural revulsion at the very idea. But we can't protect vulnerable children or deter predators by diminishing the reality of sexual abuse. And we further damage survivors with the implication that the crimes committed against them are something less than a horrific and violent crime.
There are far, far too many of those victims. You could fill the MCG eight times over with the number of children living in Australia, right now, who have been or will be sexually abused. You could empty out Brisbane and entirely refill it with adults who have suffered sexual violence in their lifetime. All these people see headlines.
Sexual abuse is not sex. Children cannot have sex with adults. Stop calling it what it isn't and start calling it what it is.
FixedIt is an ongoing project to push back against the media's constant erasure of violent men and blaming of innocent victims. If you would like to help fund it – even $5 a month makes a big difference – please consider becoming a Patron
Sexual assault, domestic and family violence counselling and support.24 hours a day, 7 days a week.
Ph: 1800 737 732
Suicide Call Back Service
24 hours a day, 7 days a week.
Ph: 1300 659 467
Kids Helpline
24 hours a day, 7 days a week.
Phone: 1800 55 1800
MensLine Australia
24 hours a day, 7 days a week.
Phone: 1300 78 99 78
Child Wise National Abuse Helpline
Mon-Fri: 9 am – 5 pm
Ph: 1800 99 10 99


text:
We Shoot it | making of
More than just two photographers Michael Compensis and Thomas von Salomon: conception, photography, postproduction, CGI, video! From a single source, in any combination, with one contact. We are specialised in carphotography and are shooting campaigns and editorial spreads on a high level for all transportation fields. We offer long-standing expertise, combined with out of the box thinking, creativity with precise work. Off the cuff, with our team from one to up to 20 specialists in their fields!
Therefore we can truly claim: "WE! anything visual".
Audi, BMW, Dodge, Mini, Fendt, Rolls Royce, Hyundai, Kia, Infinity, Jaguar/Range Rover, Opel, Ram, Mercedes Benz, Renault, Aiways, Seat, Smart, Suzuki, Honda, Volkswagen
ramp Magazin, Fuel Magazin, GQ
Serviceplan, Jung von Matt, Innocean Frankfurt, Dentsu, Proximity, Shot One, Herrwerth&Partner


text:
Vox AmPlug2 Headphone Amp
With amPlug 2, the crucial analog circuit has been drastically improved, and each model now provides three modes. Guitar types provide multi-effect functionality, and a rhythm function has been added to the bass type. A foldable plug mechanism that rotates 180 degrees and an auto power-off function are additional features that contribute significantly to improved convenience and ease of use.
The amPlug is the simplest way to get serious sound; occupying virtually no space, it's an ideal choice for any guitarist or bassist.
Available models:
AC30: Provides the AC30 top boost sound.
Classic Rock: Delivers the classic crunch of a UK-made 100W amp.
Metal: Gives you the extreme high-gain sound of a US-made amp.
Bass: Designed specifically for low frequencies, offering a wide-range response.
Clean: The ideal choice for fat, boutique inspired clean sounds.
Blues: The authentic, crunchy blues tone of a cranked tweed amp.
Lead: Searing, high gain lead tone that's perfect for solos.
Connections: Headphone Out, AUX In
Power Supply: AAA batteries x 2
Battery Life:
amPlug 2 AC30/ amPlug 2 Metal / amPlug 2 Classic Rock:
11 hours (With alkaline batteries, FX on)
17 hours (With alkaline batteries, FX off)
4 hours (With zinc-carbon batteries, FX on)
9 hours (With zinc-carbon batteries, FX off)
amPlug 2 Bass:
11 hours (With alkaline batteries, RHYTHM on)
17 hours (With alkaline batteries, RHYTHM off)
4 hours (With zinc-carbon batteries, RHYTHM on)
9 hours (With zinc-carbon batteries, RHYTHM off)
Dimensions: (W x D x H): 86 x 38 x 31 mm / 3.39" x 1.50" x 1.22" (with the plugh in the storage position)
Weight: 40 g / 1.41 oz. (excluding batteries)
Accessories: AAA alkaline Batteries x 2 (For verifying functionality)
* All product, company, and standard names are trademarks or registered trademarks of their respective holders.
* Appearance and specifications of products are subject to change without notice.


text:
Home » Jazz Musicians » Brian Eno
Brian Eno
Brian Eno From Wikipedia, the free encyclopedia Brian Eno Brian Eno 2008.jpg Eno, at the Museo MADRE of Naples, in June 2008 Background information Birth name Brian Peter George Eno Born 15 May 1948 (age 65) Woodbridge, Suffolk, England, UK Genres Experimental rock, ambient, minimalism, electronic, art rock, glam rock, art pop[1] Occupations Producer, musician, songwriter, artist Instruments Synthesizer, piano, keyboards, vocals, organ, saxophone, guitar, bass Years active 1970–present Labels Island, Polydor, EG, Obscure, Opal, Virgin, Astralwerks, All Saints Records, Rykodisc Associated acts Roxy Music, David Bowie, Coldplay, Talking Heads, Robert Fripp, Cluster, Devo, U2, David Byrne, Robert Wyatt, 801 Website brian-eno.net Music sample Dune Prophecy Theme 0:00 Brian Peter George St. John le Baptiste de la Salle Eno,[2] RDI[3] (born 15 May 1948 and originally christened Brian Peter George Eno), professionally known as Brian Eno or simply as Eno,[4] is an English musician, composer, record producer, singer, and visual artist, known as one of the principal innovators of ambient music.[5] Eno was a student of Roy Ascott on his Groundcourse at Ipswich Civic College. Then he studied at Colchester Institute art school in Essex, England, taking inspiration from minimalist painting. During his time on the art course at the Institute, he also gained experience in playing and making music through teaching sessions held in the adjacent music school. He joined the band Roxy Music as synthesiser player in the early 1970s. Roxy Music's success in the glam rock scene came quickly, but Eno soon tired of touring and of conflicts with lead singer Bryan Ferry. Eno's solo music has explored more experimental musical styles and ambient music. It has also been immensely influential, pioneering ambient and generative music, innovating production techniques, and emphasising "theory over practice".[6] He also introduced the concept of chance music to popular audiences, partially through collaborations with other musicians.[7] Eno has also worked as an influential music and album producer. By the end of the 1970s, Eno had worked with David Bowie on the seminal "Berlin Trilogy" and helped popularise the American band Devo and the punk-influenced "No Wave" genre. He produced and performed on three albums by Talking Heads, including Remain in Light (1980), and produced seven albums for U2, including The Joshua Tree (1987). Eno has also worked on records by James, Laurie Anderson, Coldplay, Depeche Mode, Paul Simon, Grace Jones, James Blake and Slowdive, among others. Eno pursues multimedia ventures in parallel to his music career, including art installations, a regular column on society and innovation in Prospect magazine, and "Oblique Strategies" (written with Peter Schmidt), a deck of cards in which cryptic remarks or random insights are intended to resolve dilemmas. Eno continues to collaborate with other musicians, produce records, release his own music, and write. Contents [hide] 1 Education and early musical career 2 Roxy Music 3 Solo work 3.1 1970s 3.2 1980s 3.3 1990s 3.4 2000s 3.5 2010s 4 Record producer and other projects 4.1 Record production 4.2 The Microsoft Sound 4.3 Video work 4.4 Generative music 4.5 Obscure records 4.6 Other work 5 Influence 6 Personal life and beliefs 7 Discography 8 Bibliography 9 Footnotes 10 References 11 External links Education and early musical career[edit]
Read moreBrian Eno was born in 1948 at Phyllis Memorial Hospital, Woodbridge, Suffolk, and was educated at St Joseph's College, Ipswich, which was founded by the St John le Baptiste de la Salle order of Catholic brothers (from whom he took part of his name when a student there),[8] at Ipswich Art School in Roy Ascott's Groundcourse and the Winchester School of Art, graduating in 1969. At the Winchester School of Art, Eno attended a lecture by Pete Townshend of The Who about the use of tape machines by non-musicians, citing the lecture as the moment he realised he could make music even though he was not a musician at that point.[9] In school, he used a tape recorder as a musical instrument and experimented with his first, sometimes improvisational, bands. St. Joseph's College teacher and painter Tom Phillips encouraged him, recalling "Piano Tennis" with Eno, in which, after collecting pianos, they stripped and aligned them in a hall, striking them with tennis balls. From that collaboration, he became involved in Cornelius Cardew's Scratch Orchestra. The first released recording in which Eno played is the Deutsche Grammophon edition of Cardew's The Great Learning (rec. Feb. 1971), as one of the voices in the recital of The Great Learning Paragraph 7. Another early recording was the Berlin Horse soundtrack, by Malcom Le Grice, a nine-minute, 2 × 16 mm-double-projection, released in 1970 and presented in 1971.[10] Roxy Music[edit]
Main article: Roxy Music Brian Eno's professional music career began in London, as a member (1971–1973) of the glam/art rock band Roxy Music, initially not appearing on stage with them at live shows, but operating the mixing desk, processing the band's sound with a VCS3 synthesiser and tape recorders, and singing backing vocals. He then progressed to appearing on stage as a performing member of the group, usually flamboyantly costumed. He quit the band on completing the promotion tour for the band's second album, For Your Pleasure because of disagreements with lead singer Bryan Ferry and boredom with the rock star life.[11] In 1992, he described his Roxy Music tenure as important to his career: "As a result of going into a subway station and meeting [saxophonist Andy Mackay], I joined Roxy Music, and, as a result of that, I have a career in music. If I'd walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now".[12] During his period with Roxy Music, and for his first three solo albums, he was credited on these records only as 'Eno'. Solo work[edit]
Eno performing on Dutch television in 1974 Eno embarked on a solo career almost immediately. Between 1973 and 1977 he created four albums of largely electronically inflected pop songs – Here Come the Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and After Science, though the latter two also contained a number of minimal instrumental pieces in the so-called ambient style. Tiger Mountain contains the galloping "Third Uncle", one of Eno's best-known songs, owing in part to its later being covered by Bauhaus. Critic Dave Thompson writes that the song is "a near punk attack of riffing guitars and clattering percussion, 'Third Uncle' could, in other hands, be a heavy metal anthem, albeit one whose lyrical content would tongue-tie the most slavish air guitarist."[13] These four albums were remastered and reissued in 2004 by Virgin's Astralwerks label. Due to Eno's decision not to add any extra tracks of the original material, a handful of tracks originally issued as singles have not been reissued ("Seven Deadly Finns" and "The Lion Sleeps Tonight" were included on the deleted Eno Vocal Box set and the single mix of "King's Lead Hat" [which is an anagram of "Talking Heads"] has never been reissued). During this period, Eno also played three dates with Phil Manzanera in the band 801, a "supergroup" that performed more or less mutated selections from albums by Eno, Manzanera, and Quiet Sun, as well as covers of songs by The Beatles and The Kinks. In 1972, Eno and Robert Fripp (from King Crimson) utilised a tape-delay system, described as 'Frippertronics', and the pair released an album in 1973 called (No Pussyfooting). The technique involved two Revox tape recorders set up side by side, with the tape unspooling from the first deck being carried over to the second deck to be spooled. This enabled sound recorded on the first deck to be played back by the second deck at a time delay that varied with the distance between the two decks and the speed of the tape (typically a few seconds). The technique was borrowed from minimalist composer Terry Riley, whose similar tape-delay feedback system with a pair of Revox tape recorders (a setup Riley used to call the "Time Lag Accumulator") was first used on Riley's album Music for The Gift in 1963.[14] In 1975, Fripp and Eno released a second album, Evening Star, and played several live shows in Europe. Eno's new methods of making sound into music called for new ways of notating his compositions. Like some 20th-century composers of "classical" music, he used graphic notation to represent what could not possibly be conveyed by conventional notes on a staff.[citation needed] Eno was a prominent member of the performance art-classical orchestra the Portsmouth Sinfonia – having started playing with them in 1972. In 1973 he produced the orchestra's first album The Portsmouth Sinfonia Plays the Popular Classics (released in March 1974) and in 1974 he produced the live album Hallellujah! The Portsmouth Sinfonia Live at the Royal Albert Hall of their infamous May 1974 concert (released in October 1974.) In addition to producing both albums, Eno performed in the orchestra on both recordings – playing the clarinet. Eno also deployed the orchestra's famously dissonant string section on his second solo album Taking Tiger Mountain (By Strategy). The orchestra at this time included other musicians whose solo work he would subsequently release on his Obscure label including Gavin Bryars and Michael Nyman. That year he also composed music for the album Lady June's Linguistic Leprosy, with Kevin Ayers, to accompany the poet June Campbell Cramer. Eno continued his career by producing a larger number of highly eclectic and increasingly ambient electronic and acoustic albums. He is widely credited with coining the term "ambient music",[15] low-volume music designed to modify one's perception of a surrounding environment. His first such work, 1975's Discreet Music (again created via an elaborate tape-delay methodology, which Eno diagrammed on the back cover of the LP ), is considered the landmark album of the genre. This was followed by his Ambient series (Music for Airports (Ambient 1), The Plateaux of Mirror (Ambient 2), Day of Radiance (Ambient 3) and On Land (Ambient 4)). Eno was the primary musician on these releases with the exception of Ambient 2 which featured Harold Budd on keyboard, and Ambient 3 where the American composer Laraaji was the sole musician playing the zither and hammered dulcimer with Eno producing. In 1975 Eno performed as the Wolf in a rock version of Sergei Prokofiev's classic Peter and the Wolf. Produced by Robin Lumley and Jack Lancaster, the album featured Gary Moore, Manfred Mann, Phil Collins, Stephane Grapelli, Chris Spedding, Cozy Powell, Jon Hiseman, Bill Bruford and Alvin Lee. Also in 1975, Eno provided synthesisers and treatments on Quiet Sun's Mainstream album alongside Phil Manzanera, Charles Hayward, Dave Jarrett, and Bill MacCormick, and he performed on and contributed songs and vocals to Phil Manzanera's Diamond Head album. In September 1976 Eno recorded with the highly influential Krautrock/Kosmische Musik group Harmonia at their studio in Forst, Germany. This material was not released until 1997 as Tracks and Traces by Harmonia '76. It was again reissued in 2009 with additional tracks and credited to Harmonia & Eno '76. 1980s[edit] In 1980 Eno provided a film score for Herbert Vesely's Egon Schiele – Exzess und Bestrafung, also known as Egon Schiele – Excess and Punishment. The ambient-style score was an unusual choice for a historical piece, but it worked effectively with the film's themes of sexual obsession and death. In 1981, having returned from Ghana and before On Land, he discovered Miles Davis' 1974 track "He Loved Him Madly", a melancholy tribute to Duke Ellington influenced by both African music and Karlheinz Stockhausen: as Eno stated in the liner notes for On Land, "Teo Macero's revolutionary production on that piece seemed to me to have the "spacious" quality I was after, and like Federico Fellini's 1973 film Amarcord, it too became a touchstone to which I returned frequently."[16] In 1980–1981, Eno collaborated with David Byrne of Talking Heads (which he had already anagrammatised as 'King's Lead Hat') on My Life in the Bush of Ghosts, which was built around radio broadcasts Eno collected while living in the United States, along with sampling recordings from around the world transposed over music predominantly inspired by African and Middle Eastern rhythms. In 1983 Eno collaborated with his brother, Roger Eno, and Daniel Lanois on the album "APOLLO: Atmospheres and Soundtracks". Many of the sounds created on this album can be heard again on later albums produced by both Eno and Lanois. 1990s[edit] In 1992, Eno released an album featuring heavily syncopated rhythms entitled Nerve Net, with contributions from several former collaborators including Robert Fripp, Benmont Tench, Robert Quine and John Paul Jones. This album was a last-minute substitution for My Squelchy Life, which featured more pop oriented material, with Eno on vocals. (Several tracks from My Squelchy Life later appeared on 1993's retrospective box set Eno Box II: Vocals.) Eno also released in 1992 a work entitled The Shutov Assembly, recorded between 1985 and 1990. This album embraces atonality and abandons most conventional concepts of modes, scales and pitch. Much of the music shifts gradually and without discernible focus, and is one of Eno's most varied ambient collections. Conventional instrumentation is eschewed, save for treated keyboards. During the 1990s, Eno became increasingly interested in self-generating musical systems, the results of which he called generative music. The basic premise of generative music is the blending of several independent musical tracks, of varying sounds, length, and in some cases, silence. When each individual track concludes, it starts again mixing with the other tracks allowing the listener to hear an almost infinite combination. In one instance of generative music, Eno calculated that it would take almost 10,000 years to hear the entire possibilities of one individual piece. Eno has presented this music in his own, and other artists', art and sound installations, most notably "I Dormienti (The Sleepers)", Lightness: Music for the Marble Palace, Music for Civic Recovery Centre, The Quiet Room and "Music for Prague". One of Eno's better-known collaborations was with the members of U2, Luciano Pavarotti and several other artists in a group called Passengers. They produced the 1995 album "Original Soundtracks 1". This album reached No. 76 on the US Billboard charts and No. 12 in the UK charts. It featured a single, "Miss Sarajevo", which was a top 10 hit in the UK (#6). While the members of U2 are on the album, Eno's influence dominates, as the album is very atmospheric and ambient. This album showcased a lot of experimentation from U2, but flowed into Eno's general style. The album was designed to be songs for movie soundtracks – movies that had yet to be made. The album caused some discontent within U2, as some members felt it a bit self-indulgent.[citation needed] U2 purposefully called the group Passengers – as opposed to U2 – as they felt they were all "passengers" on Eno's creation.[citation needed] This collaboration is chronicled in Eno's book "A Year with Swollen Appendices" a diary published in 1996. 2000s[edit] In 2004, Fripp and Eno recorded another ambient collaboration album, The Equatorial Stars. Eno returned in June 2005 with Another Day on Earth, his first major album since Wrong Way Up (with John Cale) to prominently feature vocals (a trend continued with Everything That Happens Will Happen Today). The album differs from his 1970s solo work as musical production has changed since then, evident in its semi-electronic production. In early 2006, Eno collaborated with David Byrne, again, for the reissue of My Life in the Bush of Ghosts in celebration of the influential album's 25th anniversary. Eight previously unreleased tracks, recorded during the initial sessions in 1980/81, were added to the album, while one track, "Qu'ran", was removed in accordance with requests from an Islamic organisation in London.[17] An unusual interactive marketing strategy coincided with its re-release, the album's promotional website features the ability for anyone to officially and legally download the multi-tracks of two songs from the album, "A Secret Life" and "Help Me Somebody". Individuals can then remix and upload new mixes of these tracks to the website so others can listen to and rate them.
Eno at The Long Now Foundation, 26 June 2006 In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for the PC. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never quite hear the same arrangement twice. The second edition of "77 Million Paintings" featuring improved morphing and a further two layers of sound was released on 14 January 2008. In June 2007, when commissioned in the Yerba Buena Center of the Arts in San Francisco, California, Annabeth Robinson (AngryBeth Shortbread) recreated 77 Million Paintings in Second Life.[18] In 2007, Eno's music was featured in a movie adaption of Irvine Welsh's best-selling collection Ecstasy: Three Tales of Chemical Romance. He also appeared playing keyboards in Voila, Belinda Carlisle's solo album sung entirely in French. Also in 2007, Eno contributed a composition titled "Grafton Street" to Dido's third album, Safe Trip Home, released in November 2008.[19] In 2008, he released Everything That Happens Will Happen Today with David Byrne, designed the sound for the video game Spore and wrote a chapter to Sound Unbound: Sampling Digital Music and Culture, edited by Paul D. Miller (a.k.a. DJ Spooky). Eno revealed on radio in May 2009 that a skin graft he received as treatment for a severe burn on his arm was part human skin, part carbon fibre. He explained that as human skin is based on carbon, the experimental treatment was likely going to work out well for him, in spite of the fact that he feels a lightness in the affected arm.[20] In June 2009, Eno curated the Luminous Festival at Sydney Opera House, culminating in his first live appearance in many years. "Pure Scenius" consisted of three live improvised performances on the same day, featuring Eno, Australian improv trio The Necks, Karl Hyde from Underworld, electronic artist Jon Hopkins and guitarist Leo Abrahams. Eno scored the music for Peter Jackson's film adaptation of The Lovely Bones, released in December 2009.[21] 2010s[edit]
Brian Eno, 2011. In May 2010, the same Pure Scenius line-up as in 2009 performed 'This is Pure Scenius!', in the same format of three live improvised performances on the same day, at the Brighton Festival in England. Also at the 2010 Brighton Festival, after a performance of Woojun Lee's live arrangement of 'Apollo: Atmospheres and Soundtracks' by Icebreaker and B. J. Cole, Eno and the band performed four of his songs. Eno released another solo album on Warp Records in late 2010. Small Craft on a Milk Sea, made in association with long-time collaborator Leo Abrahams and Jon Hopkins, was released on 2 November in the United States and 15 November in the UK.[22] The album included five compositions[23] as adaptions of those tracks that Eno wrote for The Lovely Bones.[24] Eno also sang backing vocals on Anna Calvi's debut album on two songs "Desire" and "Suzanne & I".[25] He later released Drums Between the Bells,[26] a collaboration with poet Rick Holland, on 4 July 2011, and the EP Panic of Looking from the same recordings. In November 2012, Eno released Lux, a 76-minute composition in four sections, via Warp Records.[27] It was announced on 25 February 2013 that Eno would produce the song "Digital Lion" on James Blake's second album, Overgrown. Record producer and other projects[edit]
Record production[edit] From the beginning of his solo career in 1973, Eno was in demand as a producer – though his management now describe him as a "sonic landscaper" rather than a producer. The first album with Eno credited as producer was Lucky Leif and the Longships by Robert Calvert. Eno's lengthy string of producer credits includes albums for Talking Heads, U2, Devo, Ultravox and James. He also produced part of the 1993 album When I Was a Boy by Jane Siberry. He won the best producer award at the 1994 and 1996 BRIT Awards. Eno describes himself as a "non-musician" and coined the term "treatments" to describe his modification of the sound of musical instruments, and to separate his role from that of the traditional instrumentalist. His skill at using "The Studio as a Compositional Tool"[28] (the title of an essay by Eno) led in part to his career as a producer. His methods were recognised at the time (mid-1970s) as unique, so much so that on Genesis's The Lamb Lies Down on Broadway, he is credited with 'Enossification'; on Robert Wyatt's Ruth Is Stranger Than Richard with a Direct inject anti-jazz raygun and on John Cale's Island albums as simply being "Eno". Despite being a self-professed "non-musician", Eno has contributed to recordings by artists as varied as Nico, Robert Calvert, Genesis, David Bowie, and Zvuki Mu, in various capacities such as use of his studio/synthesiser/electronic treatments, vocals, guitar, bass guitar, and as just being 'Eno'. In 1984, he (along with several other authors) composed and performed the "Prophecy Theme" for the David Lynch film Dune; the rest of the soundtrack was composed and performed by the group Toto. Eno produced performance artist Laurie Anderson's Bright Red album, and also composed for it. The work is avant-garde spoken word with haunting and magnifying sounds. Eno played on David Byrne's musical score for The Catherine Wheel, a project commissioned by Twyla Tharp to accompany her Broadway dance project of the same name. He worked with David Bowie as a writer and musician on Bowie's influential 1977–79 'Berlin Trilogy' of albums, Low, "Heroes" and Lodger, on Bowie's later album Outside, and on the song "I'm Afraid of Americans". In 1980 Eno developed an interest in altered guitar tunings, which led to Guitarchitecture discussions with Chuck Hammer, former Lou Reed guitarist. Following on from his No-Wave involvement which brought him in contact with the "renegade" artist Greg Belcastro, who introduced him to the guitar techniques of a fledgling Sonic Youth, Eno has also collaborated with John Cale, former member of Velvet Underground, on his trilogy Fear, Slow Dazzle and Helen of Troy, Robert Wyatt on his Shleep CD, with Jon Hassell, with the German duo Cluster, with composers Harold Budd, Philip Glass and Roberto Carnevale[citation needed]. A new collaboration between David Byrne and Brian Eno titled Everything That Happens Will Happen Today was released digitally on 18 August 2008, with the enhanced CD released in October. Eno co-produced The Unforgettable Fire (1984), The Joshua Tree (1987), Achtung Baby (1991), and All That You Can't Leave Behind (2000) for U2 with his frequent collaborator Daniel Lanois, and produced 1993's Zooropa with Mark "Flood" Ellis. In 1995, U2 and Eno joined forces to create the album Original Soundtracks 1 under the group name Passengers; songs from OST1 included "Your Blue Room" and "Miss Sarajevo". When the album was released, the US charts were dominated by movie soundtrack albums and singles. Even though films are listed for each song, all but three are bogus. Once Eno pointed out that it was not a real ploy for radio airplay, but a spoof of one, U2 agreed to the concept. Eno also produced Laid (1993), Wah Wah (1994) and Pleased to Meet You (2001) for James, performing as an extra musician on all three. He is credited for "frequent interference and occasional co-production" on their 1997 album Whiplash. Eno played on the 1986 album Measure for Measure by Australian band Icehouse. He remixed two tracks for Depeche Mode, "I Feel You" and "In Your Room", both single releases from the album Songs of Faith and Devotion in 1993. In 1995, Eno provided one of several remixes of "Protection" by Massive Attack (originally from their Protection album) for release as a single. The single also included more remixes by DJs J-Swift, Tom D, and Underdog. In 2007, he produced the fourth studio album by Coldplay entitled Viva la Vida or Death and All His Friends, which was released in 2008. Also in 2008, he worked with Grace Jones on her album Hurricane, credited for "production consultation" and as a member of the band, playing keyboards, treatments and background vocals. He worked on the twelfth studio album by U2, again with Lanois, titled No Line on the Horizon. It was recorded in Morocco, South France and Dublin and released in Europe on 27 February 2009. In 2011, Eno and Coldplay reunited and produced Coldplay's fifth studio album Mylo Xyloto, released on 24 October of that year. The Microsoft Sound[edit] In 1994, Microsoft corporation designers Mark Malamud and Erik Gavriluk approached Brian Eno to compose music for the Windows 95 project.[29] The result was the six-second start-up music-sound of the Windows 95 operating system, The Microsoft Sound. In an interview with Joel Selvin in the San Francisco Chronicle he said: The idea came up at the time when I was completely bereft of ideas. I'd been working on my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, "Here's a specific problem — solve it." The thing from the agency said, "We want a piece of music that is inspiring, universal, blah-blah, da-da-da, optimistic, futuristic, sentimental, emotional," this whole list of adjectives, and then at the bottom it said "and it must be 31/4 seconds long."[† 1] I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel. In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.[30] Eno shed further light on the composition of the sound on the BBC Radio 4 show The Museum of Curiosity, explaining that he created it using a Macintosh computer, and stating "I wrote it on a Mac. I've never used a PC in my life; I don't like them".[31] Video work[edit] Eno had spoken of an early and ongoing interest in playing with light in a similar way to the ambient manner in which he manipulated sound, but only started experimenting with the medium of video in 1978. Eno describes the first video camera he received, which would become his main tool for creating ambient video and light installations: "One afternoon while I was working in the studio with Talking Heads, the roadie from Foreigner, working in an adjacent studio, came in and asked whether anyone wanted to buy some video equipment. I'd never really thought much about video, and found most 'video art' completely unmemorable, but the prospect of actually owning a video camera was at that time quite exotic."[32] The Panasonic industrial camera Eno received had significant design flaws preventing the camera from sitting upright without the assistance of a tripod. This led to his works' being filmed in vertical format, forcing the viewer to flip his television set on its side to view it in the proper orientation.[33] The pieces Eno produced with this method, such as Mistaken Memories of Mediaeval Manhattan (1980) and Thursday Afternoon (1984) (accompanied by the album of the same title), were labelled as 'Video Paintings.' He explained the genre title in the music magazine NME: "I was delighted to find this other way of using video because at last here's video which draws from another source, which is painting… I call them 'video paintings' because if you say to people 'I make videos', they think of Sting's new rock video or some really boring, grimy 'Video Art'. It's just a way of saying, 'I make videos that don't move very fast"[34] These works presented Eno with the opportunity to expand his ambient aesthetic into a visual form, manipulating the medium of video to produce something not present in the normal television experience. His video works were shown around the world in exhibitions in New York and Tokyo, as well as released on the compilation 14 Video Paintings in 2005.[35] Eno continued his video experimentation through the 80s, 90s and 2000s, leading to further experimentation with the television as a malleable light source and onto his generative works such as 77 Million Paintings in 2006.[36] Generative music[edit] In 1996, he collaborated in developing the SSEYO Koan generative music system (by Pete Cole and Tim Cole of intermorphic) that he used in composing the hybrid music in the album Generative Music 1: Some very basic forms of generative music have existed for a long time, but as marginal curiosities. Wind chimes are an example, but the only compositional control you have over the music they produce is in the original choice of notes that the chimes will sound. Recently, however, out of the union of synthesisers and computers, some much finer tools have evolved. Koan Software is probably the best of these systems, allowing a composer to control not one, but one-hundred and fifty musical and sonic parameters, within which the computer then improvises (as wind improvises the wind chimes). The works I have made with this system symbolise, to me, the beginning of a new era of music. Until a hundred years ago, every musical event was unique: music was ephemeral and unrepeatable, and even classical scoring couldn't guarantee precise duplication. Then came the gramophone record, which captured particular performances, and made it possible to hear them identically, over and over again. But now, there are three alternatives: live music, recorded music, and generative music. Generative music enjoys some of the benefits of both its ancestors. Like live music, it is always different. Like recorded music, it is free of time-and-place limitations — you can hear it when and where you want. I really think it is possible that our grandchildren will look at us in wonder and say: "You mean you used to listen to exactly the same thing over and over again?" As C.S.J. Bofop, in 1996, he said: Each of the twelve pieces on Generative Music 1 has a distinctive character. There are, of course, the ambient works ranging from the dark, almost mournful "Densities III" (complete with distant bells), to [the] translucent "Lysis (Tungsten)". These are contrasted with pieces in dramatically different styles, such as "Komarek", with its hard-edged, angular melodies, reminiscent of Schoenberg's early serial experiments, and "Klee 42" whose simple polyphony is similar to that of the early Renaissance, but, of course, the great beauty of Generative Music is that those pieces will never sound quite that way again. Obscure records[edit] Main article: Obscure Records Eno started the Obscure Records label in Britain in 1975 to release works by lesser-known composers. The first group of three releases included his own composition, Discreet Music, and the now-famous The Sinking of the Titanic (1969) and Jesus' Blood Never Failed Me Yet (1971) by Gavin Bryars. The second side of Discreet Music consisted of several versions of Pachelbel's Canon, the composition which Eno had previously chosen to precede Roxy Music's appearances on stage, to which various algorithmic transformations have been applied, rendering it almost unrecognisable. Side 1 consisted of a tape loop system for generating music from relatively sparse input. These tapes had previously been used as backgrounds in some of his collaborations with Fripp, most notably on Evening Star. Only 10 albums were released on Obscure, including works by John Adams, Michael Nyman, and John Cage. At this time he was also affiliating with artists in the Fluxus movement. Other work[edit] Eno has also been active in other artistic fields, producing videos for gallery display and collaborating with visual artists in other endeavours. One is the set of "Oblique Strategies" cards that he and artist Peter Schmidt, produced in the mid-1970s, described as "100 Worthwhile Dilemmas" and intended as guides to shaking up the mind in the process of producing works of art. Another was his collaboration with artist Russell Mills on the book More Dark Than Shark. He was also the provider of music for Robert Sheckley's In the Land of Clear Colours, a narrated story with music originally published by a small art gallery in Spain. Eno appeared as Father Brian Eno at the "It's Great Being a Priest!" convention, in "Going to America", the final episode of the television sitcom Father Ted, which originally aired on 1 May 1998 on Channel 4. In March 2008 Eno collaborated with the Italian artist Mimmo Paladino on a show of the latter's works with Eno's soundscapes at Ara Pacis in Rome. In 2008, Eno designed the procedurally-generated music for the video game Spore.[37] In October 2008, Eno collaborated with Peter Chilvers to create an application titled Bloom, Trope, and Air for the iOS platform.[38] Eno was the guest curator of the 2009 Sydney Festival and the 2010 Brighton Festival. In 2013, Brian Eno made a number of limited edition prints featuring the artwork from his 2012 album Lux available only from his website.[39] In 2011 Eno and Chilvers released 'Scape', an Ambient Music app. Influence[edit]
Eno is frequently referred to as one of popular music's most influential artists.[40] Critic Jason Ankeny at Allmusic argues that Eno "forever altered the ways in which music is approached, composed, performed, and perceived, and everything from punk to techno to new age bears his unmistakable influence."[6] He has spread his techniques and theories primarily through his production; his distinctive style affected a number of projects he's been involved in, including Bowie's Berlin Trilogy (helping to popularise minimalism) and the albums he produced for Talking Heads (incorporating African music and polyrhythms on Eno's advice), Devo, and other groups.[41] Eno's first collaboration with David Byrne, 1981's My Life in the Bush of Ghosts, pioneered sampling techniques that would prove to be influential in hip-hop, and broke ground by incorporating world music.[42] Eno and Peter Schmidt's Oblique Strategies have been utilised by many bands, and Eno's production style has proven influential in several general respects: "his recording techniques have helped change the way that modern musicians – particularly electronic musicians – view the studio. No longer is it just a passive medium through which they communicate their ideas but itself a new instrument with seemingly endless possibilities."[43] While not the only inventor of ambient music, Eno is seen as a major contributor to the genre. The Ambient Music Guide argues that he has brought from "relative obscurity into the popular consciousness" fundamental ideas about ambient music, including "the idea of modern music as subtle atmosphere, as chill-out, as impressionistic, as something that creates space for quiet reflection or relaxation."[43] His groundbreaking work in electronic music has been said to have brought widespread attention to and innovations in the role of electronic technology in recording.[44] In 2001 Half Man Half Biscuit released an EP entitled "Eno Collaboration", which contains a track of the same name. MGMT wrote a song about Eno, called "Brian Eno", for their 2010 album Congratulations. The band LCD Soundsystem has frequently cited Eno as a key influence on their own sound and music. In 2011 Belgian academics from the Royal Museum for Central Africa named a species of Afrotropical spider Pseudocorinna brianeno in his honour.[45] Personal life and beliefs[edit]
Brian Eno refers to himself as an "Evangelical Atheist".[46] Eno has been active politically throughout his life, frequently writing letters to government ministers, appearing on political debates, and writing newspaper columns to express his political views. He was sharply critical of the Thatcher government's decision to reduce funding to the BBC World Service, arguing that the £5 million cut to its £25 million budget was damaging, and was the equivalent cost of "just one wing of one F-16 fighter jet" – a reference to a large order of military hardware the government had just made.[citation needed] In 1996, Eno and others started the Long Now Foundation to educate the public about the very long-term future of society.[47] He is also a columnist for the British newspaper The Observer. In 2003, he appeared on a UK Channel 4 discussion about the Iraq war with a top military spokesman; Eno was highly critical of the war. In 2005, he spoke at an anti-war demonstration in Hyde Park, London. In March 2006, he spoke at an anti-war demonstration at Trafalgar Square; he noted that 2 billion people on this planet do not have clean drinking water, and that water could have been supplied to them for about one-fifth of the cost of the Iraq war.[citation needed] The Nokia 8800 Sirocco Edition mobile phone features exclusive music composed by Eno.[48] Between 8 January 2007 and 12 February 2007, ten units of Nokia 8800 Sirocco Brian Eno Signature Edition mobile phones, individually numbered and engraved with Eno's signature were auctioned off. All proceeds went to two charities chosen by Eno: the Keiskamma Aids Treatment program and The World Land Trust.[49] In 2006, Eno was one of more than 100 artists and writers who signed an open letter calling for an international boycott of Israeli political and cultural institutions.[50] In December 2007, the newly elected Leader of Liberal Democrats, Nick Clegg, appointed Eno as his youth affairs adviser.[51] In January 2009, Eno spoke out against Israel's military action on the Gaza Strip by writing an opinion for CounterPunch and participating in a large-scale protest in London.[52][53] In 2013, Eno became a patron of Videre Est Credere (Latin for "to see is to believe") a UK Human Rights Charity.[54] Videre describes itself as "give[ing] local activists the equipment, training and support needed to safely capture compelling video evidence of human rights violations. This captured footage is verified, analysed and then distributed to those who can create change."[55] He participates alongside movie producers Uri Fruchtmann and Terry Gilliam – along with Executive Director of Greenpeace UK John Sauven. Show less
Multiple Reviews
Album Review
- My Life in the Bush of Ghosts by John Kelman
Extended Analysis
Book Review
Album Review
- Reflection by Nenad Georgievski
Book Review
Album Review
- Foreverandevermore by Scott Gudell
Live Review
Read more articlesApril 15, 2021
Jade Collective Dreamily Combines Jazz With Brian Eno And Shoegaze...
December 08, 2020
Keyboardist And Brian Eno Collaborator Peter Chilvers And Guitarist Jon...
December 11, 2018
Holiday Gift Idea: New Book Features Kronos Quartet, Brian Eno, Ryuichi...
August 08, 2018
Industry Giant Brian Eno Talks Music, Global Politics
April 21, 2011
March 23, 2011
Brian Eno: 1971-1977: The Man Who Fell to Earth
December 20, 2010
Top 10 Keepers for 2010: From the Black Keys to Brian Eno to Buddy Guy
November 30, 2010
Brian Eno - Small Craft on a Milk Sea (2010)
November 04, 2010
October 23, 2010
The Friday Morning Listen: Brian Eno - Ambient 1: Music for Airports...


text:
- Eligibility for a CRBA
- Transmitting Citizenship
Transmission of U.S. citizenship depends on:
- At least one parent having the nationality of the United States at the time of the child's birth;
- The existence of a blood relationship between the child and U.S. citizen parent(s);
- Documentary evidence demonstrating the U.S. citizen parent(s)' presence in the United States prior to the child's birth, as specified in the Transmission Requirements Table below.
Examples of Documentation
Some examples of documentary evidence which may be considered to demonstrate that physical presence requirements have been met may include (but are not limited to):
- Wage and tax statements (W-2)
- Academic transcripts
- Employment records
- Rental receipts
- Records of honorable U.S. military service, employment with U.S. Government or certain intergovernmental international organizations; or as a dependent, unmarried child and member of the household of a parent in such service or employment (except where indicated).
- U.S. passport stamps may be considered a part of the evidence submitted, but should not be the sole documentary evidence. Drivers' licenses do not constitute evidence of physical presence.
If you have other children who have been issued with a Consular Report of Birth Abroad, this may be considered as supplemental evidence. Please also read important information regarding Supporting Documents.


text:
Missed Period and Feeling Suicidal After Assault.
Stephanie replies:I have been raped on several occasions by my father and it is my fault. I should have listened to my mother but I didn't. I am now 16 years old. Being in the world is the last thing that I want right now. I tried to kill myself on several occasions. I feel so dirty and worthless at this point. I have realized that since then my period takes months to come, the last time I had it was 5 months ago. When it comes it stay for weeks sometimes months. Since I have been raped, is this affecting my cycle?
(Question Submitted by Suicidal)
Let's go through a first few basic thoughts before we break everything down. What happened isn't your fault, he did this and it is his fault. You're not dirty or worthless, and I'm sure you mean a lot to a lot of people around you. Suicide isn't the answer, and if you're thinking about that you need to find some help to keep yourself safe (1-800-784-2433 is a national suicide hotline, and a good place to start that's safe and confidential – or if you're in the states you can call 911). And most importantly, your safety is the key here, you need to make sure that you're somewhere safe that your dad can't get to you, and that you have someone you can trust to help keep you safe. So let's break everything down from here and look through one thing at a time.
This is not your fault - it's his fault.
When talking about rape, there are a lot of different feelings that a survivor may have. One common feeling is that because it involved them, it's somehow their fault. Regardless of whether the person that raped you was a family member, friend, or stranger – it wasn't your fault. Rape isn't about sex, especially not for the person that it happens to, it's about power. The power that your dad held over you then he continues to hold over you now in the way that it makes you feel is one way that it works.
When you are feeling that this is your fault, he's holding that power over you. What I want you to realize here is that you did nothing wrong. *He* did this you to and He was wrong for what he did. Part of the process of really dealing through what's happened it to start and place the blame where it's due, and that means understanding that he did this to you and it's his fault.
Just the same, what you're feeling and thinking about listening to your mom is really normal as well. I don't know what exactly she said to you, but I can tell you that I remember asking myself the same question "What if …" just as I know so many other people have asked themselves that question. In truth though, there isn't any guarantee that listening to someone else would have stopped what's happened. What is important is getting help to make sure that it doesn't happen again and also to help you with what you're going through personally.
You're not dirty, and you're not worthless.
Let's take a few minutes and talk about how you're feeling. Although being raped can certainly make you feel dirty, you aren't. I want you to take a good look at yourself in the mirror. You are who you've been all your life, and I'm sure of all the descriptions you may find, and especially what others will find of you – dirty isn't one that applies. You ask questions, and that makes you smart. You're looking for solutions and ways of coming to terms, which makes you resourceful. Without even having met you face to face, there are descriptions that speak very well of who you are as a person.
You're also far from worthless. You're brave, and came here to ask a question that someone else might not have been able to bring themselves to ask. By asking questions in an open forum like this where the questions are displayed, other people can benefit from the answers that are given to you. That in and of itself makes you so far from worthless. Aside from that, your mom, family, friends – I'm sure if you asked them to describe you worthless wouldn't be a word that came to mind. I think it's time you really take a look and see all of the good that is shown to other people, maybe it'll help you see yourself in a better light.
Your safety is the key.
One very important factor in all of this is your personal safety. Being around your father isn't a safe place. If he's living with you right now, is there a family member that you trust that you could talk to about what's happened and can help you get away from there safely? I'm not sure what your mother said to you, but if she knows that this has happened and didn't so anything that's a crime. If you mother is in danger with your father as well, then you both need to get to a safer place. If your mother warned you, does she know what's happened and can she help you get to a safer place? If not, or if you can't talk to your mother because she does know what's happened and hasn't done anything to help you, would you be comfortable talking with a police officer or a close adult friend that can help you get out safely? If you dad isn't living with you, can you keep from seeing him?
Another thing I want you to consider is that dealing with rape is very difficult, and it can be very helpful to talk to someone. If you're not seeing a counselor now, have you ever heard of RAINN? It stands for the Rape Abuse and Incest National Network. The link at the bottom is to their main site. They have a telephone hotline number that you can call, but they also have a 24/7 online hotline linked on their main page. It's a great place to start, and they can help you to find resources in your area as well.
Being a teen is a very difficult time in and of itself, and your experiences have made this time more difficult for you. Whatever the problem though, suicide isn't the answer. Think about this, you are already a survivor. You've pushed through everything and are looking for help, and you deserve better. Whether you realize it or not, you're very important to the people around you, and they want you to be safe and happy as much as we all do here. Anytime anyone is considering suicide, it's important to reach to others to help. The number that I've linked above and below is an excellent source of support with people that are there to help you. They can also help you to find places around you that can offer additional support/. You've made step one by asking for help, now's the best time to make step two in turning to people that are trained to help you. We're all in support of you here and want what's best for you, and being alive, well, and healthy is a huge part of that.
Finally, although a lot of women have periods that aren't regular, having periods that come this irregularly is something that you really need to be seeing a doctor about. Periods can be missed every once in a while for a lot of different reasons, including stress and excessive weight loss or gain. Because I don't know when you were raped, you want to also consider the timeframe and whether or not it's possible you are pregnant. Although this is the last thing someone wants to hear after being raped, you really should see a gynecologist soon so that they can be sure that everything is alright.
If you don't have a gynecologist yet, you can ask your mother or a female friend who they see, or ask your regular doctor for a referral. Also, the volunteers and staff at RAINN can help you to find someone that would be understanding of what you've been through and conduct an exam accordingly. Another place to look for help with that would be Planned Parenthood (linked below as well.)
The exam can be difficult after being raped, and being open with the doctor about that can help them to know that they need to be cautious and talk you through the procedure, and having some else in the room with you can help with this as well. Sometimes the doctors will ask another nurse to sit with you through the procedure to make you more comfortable. Know that it's your right to ask for that if they don't offer as well.
I've linked some different resources for you as well as two Scarleteen articles that I think will be helpful to you.